Diamond jewelry @ Christie's, New York Jewels, 15 June 2010, New York
An exquisite diamond ring. Photo: Christie's Images Ltd 2010
Set with a cushion-cut diamond, weighing approximately 27.03 carats, mounted in platinum - Estimate $2,500,000 - $3,000,000
With report 5121072749 dated 3 May 2010 from the Gemological Institute of America stating that the diamond is D color, VVS1 clarity, with excellent polish and excellent symmetry
Accompanied by a supplemental letter stating that the diamond has been determined to be a Type IIa diamond. Type IIa diamonds are the most chemically pure type of diamond and often have exceptional optical transparency. Type IIa diamonds were first identified as originating from India (particularly from the Golconda region) but have since been recovered in all major diamond-producing regions of the world. Among famous gem diamonds, the 530.20 carat Cullinan and the 105.60 carat Koh-i-noor, are examples of Type IIa
A pair of diamond ear studs. Photo: Christie's Images Ltd 2010
Each set with a circular-cut diamond, weighing approximately 7.85 and 7.67 carats, mounted in platinum - Estimate $1,800,000 - $2,500,000
With report 5111272178 dated 2 March 2010 from the Gemological Institute of America stating that the diamond, weighing approximately 7.85 carats, is D color, flawless clarity, with excellent polish and excellent symmetry
With report 2125160268 dated 19 May 2010 from the Gemological Institute of America stating that the diamond, weighing approximately 7.67 carats, is D color, VVS1 clarity, with excellent cut and excellent symmetry
A magnificent diamond ring. Photo: Christie's Images Ltd 2010
Set with a circular-cut diamond, weighing approximately 37.08 carats, to the pavé-set diamond hoop, mounted in platinum - Estimate $1,300,000 - $1,500,000
With report 15834096 dated 3 May 2007 from the Gemological Institute of America stating that the circular-cut diamond, weighing approximately 37.08 carats, F color, SI1 clarity, with excellent cut, excellent polish and excellent symmetry
Notes: The circular-cut diamond of 37.08 carats being offered in this sale is a truly exceptional gemstone. It is the largest circular-cut F color diamond to have appeared at auction and is graded by the Gemological Institute of America as having the rare combination, in such large diamonds, of excellent polish, excellent symmetry and excellent cut - a grade only warranted for circular-cut diamonds of superior status.
In order to cut a round diamond there will always be a far greater weight loss from the original crystal than there would be with any other shape, like a pear, heart, marquise or rectangle in order to best fit the irregular shape of the fractured crystals that are predominant. Also, when the color of the diamond crystal is extremely high, as is the case here, there is even less incentive to cut a round stone and lose 50-60 percent of the weight of the original crystal. At 37.08 carats, F color, this is a truly sensational diamond to be offered for sale at auction.
A pair of superb diamond ear pendants. Photo: Christie's Images Ltd 2010
Each suspending a cushion-cut diamond, weighing approximately 12.02 and 11.60 carats, within a single-cut diamond surround, from a single-cut diamond link, to the diamond-set hoop, mounted in platinum - Estimate $550,000 - $650,000
A diamond ring. Photo: Christie's Images Ltd 2010
Set with a square-cut diamond, weighing approximately 6.54 carats, flanked on either side by a tapered baguette-cut diamond, mounted in platinum - Estimate $180,000 - $220,000
With report 17159651 dated 26 June 2008 from the Gemological Institute of America stating that the diamond is G color, VS1 clarity
A diamond line bracelet. Photo: Christie's Images Ltd 2010
Designed as an alternating series of graduated oval, circular and rectangular-cut diamonds, joined by a marquise-cut diamond clasp, mounted in platinum, 7 ins. - Estimate $170,000 - $200,000
With sixteen reports dated from 20 September 1994 to 16 October 2008 from the Gemological Institute of America stating that sixteen of the diamonds, weighing from approximately 1.02 to 3.18 carats, range from H to K, faint brown color and from internally flawless to I1 clarity
A diamond riviere necklace. Photo: Christie's Images Ltd 2010
Composed of sixty-five graduated old mine and old European-cut diamonds, mounted in platinum-topped 18k gold, 16½ ins. - Estimate $160,000 - $200,000
A diamond "legacy" ring, by Tiffany & Co. Photo: Christie's Images Ltd 2010
Set with a modified cushion-cut diamond, weighing approximately 5.56 carats, within a circular-cut diamond surround, gallery and graduated circular-cut diamond shoulders, with collet-set diamond accents, mounted in platinum, in a Tiffany & Co. black suede box. Signed Tiffany & Co., no. 19104257 - Estimate $150,000 - $250,000
A diamond ring. Photo: Christie's Images Ltd 2010
Set with a rectangular-cut diamond, weighing approximately 5.49 carats, to the graduated baguette-cut diamond shoulders, mounted in platinum - Estimate $150,000 - $200,000
With report 2111325228 dated 4 November 2009 from the Gemological Institute of America stating that the diamond is F color, VVS2 clarity
A diamond ring. Photo: Christie's Images Ltd 2010
Set with a cut-cornered rectangular-cut diamond, weighing approximately 5.77 carats, flanked on either side by a trillion-cut diamond, mounted in platinum - Estimate $85,000 - $100,000
With report 2101355441 dated 22 October 2008 from the Gemological Institute of America stating that the diamond is G color, SI1 clarity
A diamond ring, by Tiffany & Co. Photo: Christie's Images Ltd 2010
Set with a cushion-cut diamond, weighing approximately 3.03 carats, within a circular-cut diamond surround, to the circular-cut diamond shoulders, mounted in platinum. Signed Tiffany & Co. Estimate $80,000 - $120,000
With report 2105466637 dated 16 December 2008 from the Gemological Institute of America stating that the diamond is D color, internally flawless clarity
A diamond necklace. Photo: Christie's Images Ltd 2010
Suspending a pear-shaped diamond, weighing approximately 4.20 carats, from a graduated series of pear-shaped diamonds, mounted in platinum, 15¼ ins. Numbered 929 - Estimate $80,000 - $120,000
With report 2115128803 dated 15 September 2009 from the Gemological Institute of America stating that the diamond is F color, SI1 clarity
Christie's, New York Jewels, 15 June 2010, New York, Rockefeller Plaza www.christies.com
Karl Lagerfeld, Claudia Schiffer, Esther de Jong, Christie Turlington en Chanel
Karl Lagerfeld (né en 1938), Mädchen aus dem Wiener Wald (Claudia Schiffer), 1993
Tirage couleur Fresson d'époque. Signé, titré, daté et envoi « Pour Gillot » à l'encre dans l'image. 41 x 32,5 cm - Estimation : 700 / 800 €
Karl Lagerfeld (né en 1938), Esther de Jong, Paris, juillet 1997
Tirage couleur Fresson d'époque. Signé, titré, daté et envoi « Pour Gillot » à l'encre sous l'image dans la marge. 28 x 21 cm - Estimation : 700 / 800 €
Karl Lagerfeld (né en 1938), Christie Turlington en Chanel haute-couture, années 1990
Initiales du photographe en timbre sec en bas à droite dans la marge. Référence à la mine de plomb au dos. 50,5 x 40,5 cm avec marges - Estimation : 700 / 800 €
Piasa - Paris. Vente du Mercredi 16 juin 2010. Drouot Richelieu - Salle 11 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter à la maison de ventes Pascale Humbert au 01 53 34 10 10.
Karl Lagerfeld (né en 1938) Portrait d'homme torse nu & Jeune homme, portrait en buste, années 1990
Karl Lagerfeld (né en 1938) Portrait d'homme torse nu, années 1990
2 tirages d'époque sur papier mat. Signés et envoi sous l'une des images dans la marge. Référence à la mine de plomb au dos. 40,5 x 30 cm avec marges - Estimation : 1 000 / 1 200 €
Karl Lagerfeld (né en 1938) Jeune homme, portrait en buste, années 1990
Tirage d'époque sur papier mat. Signé et envoi à l'encre sous l'image dans la marge. Référence à la mine de plomb au dos. 40 x 31 cm avec marges - Estimation : 500 / 600 €
Piasa - Paris. Vente du Mercredi 16 juin 2010. Drouot Richelieu - Salle 11 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter à la maison de ventes Pascale Humbert au 01 53 34 10 10.
Tom Kublin, Mode pour Balenciaga, Paris, 1958
Tom Kublin, Mode pour Balenciaga, Paris, 1958
Épreuve gélatino-argentique d'époque réalisée par l'auteur. Encadrée. Signée et datée à l'encre bleue en haut à gauche dans l'image. Cachet de la collection Nisberg au dos. 32,7 x 27,3 cm - Estimation : 1 000 / 1 200 €
Provenance : de la galerie VU' (Paris) à l'actuel propriétaire.
Piasa - Paris. Vente du Mercredi 16 juin 2010. Drouot Richelieu - Salle 11 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter à la maison de ventes Pascale Humbert au 01 53 34 10 10.
Wim Delvoye (B.1965), La crème de la crème & Zelfportret met bleekblauw, groen en geel
Wim Delvoye (B.1965), La crème de la crème. photo Sotheby's
acrylics on synthetic tapestry, signed, dated '87 and titled on the reverse, 61 by 103 cm. Est. 6,000—8,000 EUR Lot Sold 7,500 EUR
Wim Delvoye (B.1965), Zelfportret met bleekblauw, groen en geel. photo Sotheby's
acrylics on synthetic tapestry, signed and titled on the reverse, 61 by 103 cm. Est. 6,000—8,000 EUR Lot Sold 7,500 EUR
Sotheby's. 19th Century European Paintings & Contemporary Art. 14 Jun 10. Amsterdam www.sothebys.com
Chine. Panneau en soie brodé, vase balustre XVIIe siècle et paire jardinières en bronze doré et émaux cloisonnés
Panneau. Chine.
en largeur sur soie fond bleu foncé à décor brodé de fil guipé d’or de dragons impériaux parmi les nuages au dessus de rochers parmi les flots. (Petites usures). 160 x 310 cm. Estimation : 2000 / 2500 €
Pot balustre. Chine, XVIIe siècle.
en porcelaine blanche décorée en bleu sous couverte et émaux polychromes de médaillons de poissons parmi les algues. (Manque le couvercle). Haut. : 30 cm. Estimation : 1200 / 1500 €
Chine. Paire de jardinières en bronze doré et émaux cloisonnés, arbres avec fleurs en agate.
Haut. : 46 cm. Estimation : 600 / 800 €
SVV Alain Schmitz • Frédéric Laurent. dimanche 27 juin 2010 à 14h30 à Saint-Germain-en-Laye. Tél. : 01 39 73 95 64 - Fax : 01 39 73 03 14 - E-mail : contact@sgl-encheres.com
Deux vues d’optique Pont de Cochinchine et la grande rue de Nanquin.
Deux vues d’optique Pont de Cochinchine et la grande rue de Nanquin.
Gravures rehaussées d’aquarelle et de gouache. Estimation : 150 / 200 €
SVV Alain Schmitz • Frédéric Laurent. dimanche 27 juin 2010 à 14h30 à Saint-Germain-en-Laye. Tél. : 01 39 73 95 64 - Fax : 01 39 73 03 14 - E-mail : contact@sgl-encheres.com
Berlinde De Bruyckere @ Hauser & Wirth Zürich
Romeu "my deer", IV, 2010. Wax, epoxy, iron, string, 84 x 31 x cm / 33 1/8 x 12 1/4 x 7 1/2 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Nele De Roo.
ZURICH.- Horse, deer and man metamorphose in Berlinde De Bruyckere’s exhibition for Hauser & Wirth Zürich. De Bruyckere’s work deals with death and transfiguration and looks to stories and art of the past to address anxieties that remain current. Her sculptures accomplish an almost alchemical transformation of wax into flesh, and out of this fantastical realism she creates intolerably mutated bodies: figures lack heads, borrow and reconfigure anatomies, become amorphous, vegetal and abstract. Their distortions emphasise our own fragile existence. ‘I want to show how helpless a body can be,’ De Bruyckere has said. ‘Which is nothing you have to be afraid of — it can be something beautiful.’
Antlers, a new motif for the Flemish artist, summon the fate of Actæon who was turned into a stag by the Goddess Diana before swiftly being torn to death by his own hounds. Preternaturally delicate and raw, pairs of antlers are suspended by string from the gallery walls. Blood red, mottled white and sinuous, they are utterly unlike the clichéd hunting trophies mounted in baronial halls. Flowing downwards and growing together as though protecting one another, these pairs seem sensitive and still alive; one wears bandages — an intimation of human feeling lying within these abstract animal forms.
Two other pieces in the exhibition use the same technique: a horse, sliced in two lengthways and hung vertically in a vitrine; and an elongated human figure whose resting body twists into a fleshy landscape that admits no head. The latter is dignified despite its deformity and has been granted a pillow to cushion its legs. Its emaciated form calls to mind Renaissance depictions of Christ taken from the cross, as well as more contemporary horrors such as concentration camp victims or the distorted bodies of famine sufferers. The horse imagines death on a large scale. Headless and hoofless, pale and translucent, its vertical carcasses are anthropomorphic, resembling swollen human figures whilst also calling to mind Rembrandt’s ‘Flayed Ox’ and Soutine’s ox torsos.
Another horse’s torn body, cast in iron, rises dramatically from a table. Iron is a new material for De Bruyckere and was chosen to convey ‘the heaviness of death’. The horse’s unyielding weight and emptied body contrast brutally with the malleable vulnerability of the waxen forms. Bringing unlike things together, De Bruyckere tests sculpture’s potential to recuperate and heal, using materials and motifs to create an increasingly complex language of empathy and suffering.
Romeu, 2010, 2010. Wax, epoxy, iron, wool, cotton, wood, 82.5 x 77.6 x 153.8 cm / 32 1/2 x 30 1/2 x 60 1/2 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger.
Romeu, 2010, 2010. Wax, epoxy, iron, wool, cotton, wood, 82.5 x 77.6 x 153.8 cm / 32 1/2 x 30 1/2 x 60 1/2 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Romeu, 2010 (detail), 2010. Wax, epoxy, iron, wool, cotton, wood, 82.5 x 77.6 x 153.8 cm / 32 1/2 x 30 1/2 x 60 1/2 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Lange eenzame man, 2010, 2010. Wax, epoxy, cushion, glass, wood, iron, 104.6 x 184.7 x 62.5 cm / 41 1/8 x 72 3/4 x 24 5/8 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Lange eenzame man, 2010 (détail), 2010. Wax, epoxy, cushion, glass, wood, iron, 104.6 x 184.7 x 62.5 cm / 41 1/8 x 72 3/4 x 24 5/8 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Lange eenzame man, 2010, 2010. Wax, epoxy, cushion, glass, wood, iron, 104.6 x 184.7 x 62.5 cm / 41 1/8 x 72 3/4 x 24 5/8 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Inside me, 2008-2010, 2010. Cast iron, horse skin, epoxy, iron, wood, 328.7 x 244.5 x 126.5 cm / 129 3/8 x 96 1/4 x 49 3/4 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Inside me, 2008-2010, 2010. Cast iron, horse skin, epoxy, iron, wood, 328.7 x 244.5 x 126.5 cm / 129 3/8 x 96 1/4 x 49 3/4 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Inside me, 2008-2010, 2010. Cast iron, horse skin, epoxy, iron, wood, 328.7 x 244.5 x 126.5 cm / 129 3/8 x 96 1/4 x 49 3/4 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Les deux II, 2008-2010, 2010. Wax, epoxy, iron, wood, glass, 251 x 134.6 x 69.7 cm / 98 7/8 x 53 x 27 1/2 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Les deux II, 2008-2010, 2010. Wax, epoxy, iron, wood, glass, 251 x 134.6 x 69.7 cm / 98 7/8 x 53 x 27 1/2 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger. Romeu 'my deer' I, 2010, 2010. Wax, epoxy, iron, string, 81 x 33 x 12 cm / 31 7/8 x 13 x 4 3/4 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Mirjam Devriendt. Romeu 'my deer' II, 2010, 2010. Wax, epoxy, iron, string, cloth, 70 x 31 x 22 cm / 27 1/2 x 12 1/4 x 8 5/8 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Mirjam Devriendt. Romeu 'my deer' III, 2010. Wax, epoxy, iron, cushion, string, 76 x 20 x 17 cm / 29 7/8 x 7 7/8 x 6 3/4 in. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Mirjam Devriendt. Romeu 'my deer' VI, 2010, 2010. Wax, epoxy, iron, string. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Mirjam Devriendt.
Autriche : un nouveau cas de restitution après une vente forcée pendant la guerre
VIENNE (AUTRICHE) [14.06.10] – Une commission ad hoc du gouvernement autrichien se prononce pour la restitution aux héritiers du propriétaire originel, d’œuvres d’art dont deux panneaux d’autel d’un peintre néerlandais du XVIe siècle saisis par les nazis pendant la Seconde Guerre mondiale aujourd’hui conservés au Kunsthistorisches Museum de Vienne.
Un conseil du gouvernement autrichien a recommandé au ministère de la Culture de restituer deux panneaux d’autel du XVIe siècle du peintre néerlandais du XVIe siècle, Maerten van Heemskerck, ainsi que deux autres tableaux et deux statuettes spoliés par les nazis et aujourd’hui conservées au Kunsthistorisches Museum (KHM) de Vienne à Thomas Selldorff, le petit-fils de Richard Neuman, un industriel juif spécialisé dans le textile forcé de fuir l’Autriche en 1938.
Collectionneur d’art, Richard Neuman avait réuni plus de 200 œuvres d’art dans sa villa de Vienne. Il fuit l’Autriche quand celle-ci est annexée par le Reich pour Paris. Quand les nazis occupent la France, Neumann part pour l’Espagne. De là, il rejoint Cuba où il s’installe et participa même, en 1954, à la fondation d’un musée d’art à la Havane. Il s’installa plus tard à New York où il mourut en 1961 à l’âge de 82 ans.
Ses œuvres d’art furent un temps saisies par les nazis puis vendues en 1938 par la fille de Neumann au KHM. Après la guerre, Neumann demanda la restitution de ses œuvres au KHM. Le musée insista sur le fait que Neumann avait déjà perçu le solde de la vente – ce dernier ne lui étant jamais parvenu car placé par sa fille sur un compte gelé. Neumann était prêt à payer de nouveau pour le retour de ses œuvres, mais une interdiction d’exportation de biens culturels l’empêcha de reprendre possession des panneaux.
En 1952, Neumann déposa une seconde plainte contre le KHM. Le musée lui proposa de lui donner d’autres œuvres de sa collection de moindre valeur et 3 000 dollars d’indemnité à la place des panneaux d’autel, des deux tableaux et des statuettes.
En 2005, le conseil rejeta une troisième demande faite par son petit-fils, Selldorff, installé à Boston arguant qu’il ne pouvait restituer une œuvre pour laquelle une indemnité avait déjà été perçue. Or, un amendement facilitant la restitution d’œuvres saisies par les nazis adopté en 2009 a rendu possible la décision d’aujourd’hui. Selon les termes de la décision, Selldorff devra rembourser la compensation versée à son grand-père.
L’Autriche a mis en place une commission dite Commission pour la recherche de provenance – Kommission für Provienzforschung – qui a pour but de faciliter la restitution d’œuvres saisies à leur propriétaire ou à leurs héritiers. Cette commission transmet ses recommandations à un conseil qui décide ou non de recommander la restitution. www.artclair.com
Zeng Fanzhi Exhibits Paintings @ the National Gallery for Foreign Art
Chinese contemporary artist Zeng Fanzhi listens to a journalist's question during a news conference before the official opening of his exhibition at Bulgaria's National Gallery for Foreign Art in Sofia. REUTERS/Stoyan Nenov
SOFIA.- World-famous Chinese artist Zeng Fanzhi on Friday evening opened an exhibition in Sofia's National Gallery for Foreign Art. Attending the ceremony were Prime Minister Boyko Borissov and Culture Minister Vezhdi Rashidov.
Zeng Fanzhi is here at the invitation of businessman and patron of arts Spas Roussev, who also takes credit for the long list of guests of the Bulgarian and foreign elite.
The group of foreign guests included top model Elle MacPherson and fashion designer Tommy Hilfiger, Tommy Schiller who took photographs of Marilyn Monroe, famous photographer Annie Leibovitz and Julia Peyton-Jones, Director of the influential Serpentine Gallery in London, UK.
Zeng Fanzhi shows 18 paintings from his collection, including ones of the Mask Series which brought him world fame in the 1990s.
In 2008, the artist set an auction record for China's modern art with a painting of the Mask Series that fetched 9.7 million US dollars at Christie's.
Culture Minister Rashidov conferred Golden Century orders to Zeng Fanzhi and Hilfiger for their exceptional contribution to global culture.
Born in Wuhan, Hubei province in 1964, Zeng Fanzhi decided at a very early age to become a painter. He set the bar for himself extremely high, endeavoring to become an artist whose work would one day transcend conventions, borders, fashion and time.
In 1991, Zeng graduated from Hubei Academy of Fine Arts. At that time, the ideological changes in China and the style of German Expressionism deeply influenced him. His early paintings are immediately recognizable by their signature expressionistic strokes, that lend provocative sensations of underlying violence and agony to his lavishly rendered canvases.
Upon moving to Beijing, he began his celebrated Mask series in 1994. In Mask No 13, a man is wearing a white grinning mask and caressing a Dalmatian with his enormous and chiseled hands. The intimacy between the man and the dog suggests the artist’s optimistic view towards the world around him; yet, there is an element of the sinister lurking behind the mask on the man’s face. By using sharp brush strokes, Zeng magnifies psychological tensions between the stylized theatrical mask and the subdued human body.
Anxiety and psychological gravity are also revealed in his portraits, including a self-portrait from 2009, in which the artist, in a long red robe, is sitting on a stool in front of a massive solemn landscape of mountains. He stares intensely out of the painting. His thoroughly apathetic grimace suggests an attempt to create a work that is a raw expression of his psychological condition. The subjects of his portraits are depicted with a set of ridiculously large and bold eyes looking out of the painting, as if to confront the viewer, capturing their inner personalities, with the unflinching honesty that characterizes his work.
Zeng’s landscape paintings mark his departure from his critically renowned Expressionistic style. Rendering thick woods, sometimes including people or animals, Zeng brings his landscape to life with a frenzied network of brush strokes, replicating the inarticulate calligraphy of muffled sentiment and the galvanization of repressed anxiety. Painting with two or more brushes simultaneously, Zeng uses one to describe his subject, while others meander the canvas, leaving traces of his subconscious through processes. This action of construction and deconstruction transforms the pictures into near abstraction.
Since 2009, Zeng has started his meditation with meticulously painting very simple solitary still lifes: a pair of shoes, a fish or a piece of lamb, as an effort to reinterpret the history of art in a contemporary manner. With Trough these seemingly mundane subjects, Zeng demonstrates his vigorous painting ability and his desire to shift from expressing daunting human psychics to reconciling his inner self with nature and his surroundings. The paintings no longer reflect conflicts and restlessness in the world; instead they are parts of an introspective odyssey in searching for truth within that goes beyond rational understanding. With Information from the Bulgarian News Agency.
Three works of Zeng Fanzhi shown at the National Gallery for Foreign Art, Sofia.
